1 


PORTRAIT  DE  WILLIAM  HOGARTH.  Engraved  by  himself  1749 

7'ke  original  painting  oj  1745  is  in  the  National  Gallery 


HIS  ORIGINAL  ENGRAV- 
INGS AND  ETCHINGS 


FREDIC.  A.  STOKES  COMPANY 
NEW  YORK  PUBLISHERS 


BOOKS  OF  REFERENCE 

Trusler,  J.  Hogarth  moralised.  London  1768  (later  editions  1821,  1831, 
1833, and  1841) 

Nichols,  John.  Biographical  Anecdotes  of  William  Hogarth,  and  a 
Catalogue  of  his  Works  (written  by  Nichols  the  publisher,  George 
Steevens,  and  others).  London  1781  (later  editions  1782,  1785) 

Ireland,  John.  Hogarth  Illustrated.  2 vols.  London  1791  (later  editions 
1793,  1798,  1806,  1812) 

Samuel.  Graphic  Illustrations  of  Hogarth.  2 vols.  London  1794 

Cook,  Thomas.  Hogarth  Restored.  The  whole  works  of  Hogarth  as 
originally  published.  Now  re-engraved  by  T.  C.  Accompanied  with 
Anecdotes  . . . and  Explanatory  Descriptions.  London  1802 

The  Works  of  William  Hogarth,  from  the  Original  Plates  restored  by 
James  Heath,  to  which  are  prefixed  a Biographical  Essay  . . . and 
Explanations  of  the  Subjects  of  the  Plates,  by  John  Nichols.  Printed 
for  Baldwin,  Cradock,  and  Joy,  by  John  Nichols  & Son.  London 
1822,  Fob  Also  a later  edition,  printed  for  Baldwin  and 
Cradock,  by  G.  Woodfall,  n.d.  (1835-37  ?) 

Nichcls,  John  Bowyer.  Anecdotes  of  William  Hogarth,  written  by 
himself,  with  Essays  on  His  Life  and  Genius,  selected  from  Walpole, 
Gilpin,  J.  Ireland,  Lamb,  Phillips,  and  others.  To  which  are  added 
a Catalogue  of  his  Prints,  List  of  Paintings,  Drawings,  etc.  London 

1833 

Sala,  George  Augustus.  William  Hogarth.  London  1 866  (originally 
appeared  in  the  Cornhill  MagaTLine^  i860) 

Feuillet  de  Conches,  F.  William  Hogarth.  Gazette  des  Beaux- Jrts, 
XXV  (1868),  185 

The  Works  of  William  Hogarth,  reproduced  from  the  Original  Engravings 
in  permanent  Photographs  and  newly  described  (by  Cosmo  Monk- 
house  and  Austin  Dobson),  with  an  Essay  on  the  Genius  and 
Character  of  Hogarth,  by  Charles  Lamb.  London  1872 

Dobson,  Austin.  William  Hogarth.  London  1879  (and  numerous  later 
editions.  The  standard  book  on  Hogarth,  containing  full  Biblio- 
graphy and  Catalogue) 

Weitenkampf,  Frank.  A Bibliography  of  William  Hogarth.  Cambridge 
(Mass.)  1890 


4 


nETTY  CENTER 
'fSRrIRy 


WILLIAM  HOGARTH 

Son  of  Richard  Hogarth  (d.  1718),  schoolmaster  and 
scholar  ; born  in  London,  Nov.  10,  1697  5 apprenticed 
to  Ellis  Gamble,  a goldsmith  and  silver-plate  engraver 
at  the  sign  of  the  Golden  Angel  in  Cranbourne  Street, 
Leicester  Fields  (see  plate  i)  ; established  on  his  own 
account  as  an  engraver  in  1720  ; his  early  work  chiefly 
in  heraldic  plates  and  book  illustrations  ; married  Jane, 
daughter  of  the  painter  Sir  James  Thornhill,  in  1729  ; 
from  1733  was  living  in  Leicester  Fields,  in  a house 
on  the  spot  now  occupied  by  Archbishop  Tenison’s 
school  ; also  purchased  in  1749  a house  at  Chiswick, 
where  he  lived  thenceforward  for  the  greater  part  of 
each  summer  ; appointed  Serjeant-Painter  to  the  King, 

1757;  died  Oct.  25,  1764,  at  Leicester  Fields,  and 
buried  at  Chiswick. 

‘ 1 ECOIvLECTION  of  the  manner  in  which  those  prints 
used  to  alfect  me,’  wrote  Charles  Lamb,  ‘ has  often  made 
JL  me  wonder  when  I ha\  e heard  Hogarth  described  as  a mere 
comic  painter,  as  one  whose  chief  ambition  was  to  raise  a laugh. 
'Fo  deny  that  there  are  throughout  the  prints  which  I ha\e 
mentioned  circumstances  introduced  of  a laughable  tendenc}',  would 
be  to  run  counter  to  the  common  notions  of  mankind  ; but  to  sup- 
pose that  in  their  ruling  character  they  appeal  chiefly  to  the  risible 
facidty,  and  not  first  and  foremost  to  the  very  heart  of  man,  its  best 
and  most  serious  feeling,  would  be  to  mistake  no  less  grossl)'  their 
aim  and  purpose.  A set  of  severe  satires  (for  which  they  are  not  so 
much  comedies,  which  they  have  been  likened  to,  as  the)'  ate  strong 
and  masculine  satires),  less  mingled  with  an)’thing  of  mere  fun,  were 
never  written  u[K)n  paper,  or  gra\  en  upon  co[)per.  'They  resemble 
Juvenal,  or  the  satiric  touches  in  “ Timon  of  Athens.” 

‘ I was  pleased  with  the  reply  of  a gentleman,  who  being  asked 
which  book  he  esteemed  most  in  his  library,  answered  Shake- 
speare  ” ; being  asked  which  he  esteemeal  next  best,  replieil 
“Hogarth.”  His  graphic  representations  are  iiuieed  books;  they 
have  the  teeming,  fruitful,  suggestive,  meaning  of  words.  Other 
pictures  we  look  at — his  prints  we  read.’ 

And  finally  : 

‘1  say  not  that  all  the  ridiculous  subjects  of  Hogarth  have 

5 


GREAT  ENGRAVERS 

necessarily  something  in  them  to  make  us  like  them  ; some  are  in- 
different to  us,  some  in  their  natures  repulsive,  and  only  made 
interesting  by  the  wonderful  skill  and  truth  to  nature  in  the  painter; 
but  I contend  that  there  is  in  most  of  them  that  sprinkling  of  the 
better  nature,  which,  like  holy-water,  chases  away  and  disperses  the 
contagion  of  the  bad.  They  have  this  in  them  besides,  that  they 
bring  us  acquainted  with  the  everyday  human  face,  they  give  us 
skill  to  detect  those  gradations  of  sense  and  virtue  (which  escape  the 
careless  or  fastidious  observer)  in  the  countenances  of  the  world  about 
us  ; and  prevent  that  disgust  of  common  life,  that  taedium 
quotidian  arum  formarum^  which  an  unrestricted  passion  for  ideal 
forms  and  beauties  is  in  danger  of  producing.  In  this  as  in  many 
other  things,  they  are  analogous  to  the  best  novels  of  Smollett  and 
Fielding.’ 

We  make  no  apology  for  quoting  at  such  length  from  Charles 
Lamb’s  famous  essay  on  the  Genius  and  Character  of  Hogarth,*  as 
illuminating  and  human  as  everything  that  he  wrote.  It  goes  with- 
out saying  that  it  was  on  the  side  of  its  humanity  and  intellect  that 
he  most  appreciated  Hogarth’s  genius.  In  claiming  for  his  works 
the  right  to  be  placed  on  a level  with  the  more  assuming  dignity  and 
the  idealised  compositions  of  the  English  Historical  School,  Lamb 
lays  chief  emphasis  on  the  quantity  of  thought  crowded  into  every 
picture,  describing  the  G'ln  Lane  (xLii)  at  some  length  as  an  extreme 
example  of  Hogarth’s  direct  and  vigorous  satire. 

Personally  I feel  that  the  vitality  of  Hogarth’s  creation  sprang 
more  from  a supreme  sense  of  observation  than  from  any  inherent 
depth  of  thought.  Hogarth  himself  speaks  of  the  discipline  to  which 
he  subjected  his  powers  of  observation,  how  he  endeavoured  to 
habituate  himself  to  the  exercise  of  a sort  of  technical  memory,  so 
that,  by  repeating  in  his  mind  the  parts  of  which  objects  were  com- 
posed, he  could  by  degrees  combine  and  put  them  down  with  his 
pencil.  He  never  much  favoured  ‘cold  copying’  from  nature,  and 
sometimes  failed  on  that  account  to  convince  his  academic  con- 
temporaries of  his  powers.  But  he  was  undoubtedly  right  in  regarding 
the  habit  of  retaining  in  one’s  mind  what  one  intends  to  imitate  as 
the  only  sure  basis  for  freedom  in  composition.  Slight  sketches 
made  on  his  thumb-nail  in  the  street,  seem  to  have  been  one  of  the 
few  direct  aids  by  which  he  supported  his  habitual  exercise  of 
memory. 

Few  of  his  contemporaries  refused  to  admit  his  peculiar  genius  for 
* Originally  printed  in  Lhe  Reflector^  No.  Ill,  i8i  i. 


6 


WILLIAM  HOGARTH 

satire  and  subjects  from  daily  life,  but  they  were  remarkably  sparing 
of  any  generous  appreciation  of  his  art  in  comparison  with  the 
historical  and  portrait  painters  chiefly  in  repute. 

The  irregularity  of  his  education  as  a painter  goes  far  to  account 
for  the  variable  quality  of  his  production,  but  his  best  portraits  are 
worthy  to  be  placed  beside  the  great  academic  painters  of  the 
eighteenth  century.  Such,  for  example,  is  the  portrait  of  himself  in 
the  National  Gallery  (reproduced  in  his  own  engraving,  see  frontis- 
piece)^ as  solid  and  convincing  as  anything  of  Reynolds  ; while  in 
portraits  such  as  his  Sister  Ann  (Mrs.  Salter),  and  his  Six  Servants^ 
both  in  the  National  Gallery,  there  is  a refreshing  freedom  of  touch, 
and  a command  of  colour  and  light  that  anticipate  the  best  of 
modern  portraitists.  In  his  subjects  and  figures,  as  well  as  in 
his  love  for  the  play  of  white  lights,  he  caught  something  of  the 
Italian  spirit,  the  spirit  that  descended  from  Tiepolo  to  Hogarth’s 
younger  contemporary  Alessandro  Longhi.  And  some  of  his  best 
subjects  from  daily  life,  where  the  spirit  of  satire  is  thrown  aside, 
such  as  the  Green  Room^  Drury  Lane  (in  the  collection  of  Lord 
Glenconner)  match  Chardin  in  their  peculiar  charm.  Hogarth 
affected  to  despise  the  foreign  artist  in  England,  particularly  when 
he  was  a success  like  J.  B.  Vanloo  ; but  Mercier  and  Gravelot,  with 
their  genuinely  personal  reflection  of  Watteau’s  manner,  were  un- 
doubtedly a real  influence  in  stimulating  certain  touches  of  almost 
Gallic  grace  and  refinement  which  often  appear  in  Hogarth’s  best 
work.  If  he  was  influenced  in  his  painting  by  Frenchmen  of  his 
own  century,  it  was  certainly  a Frenchman  of  an  earlier  period,  the 
famous  etcher  Jacques  Callot,  who  inspired  his  treatment  of  figures  in 
many  of  his  plates,  such  as  the  Masquerades  and  Operas  (v). 

Hogarth’s  early  work  was  chiefly  that  of  a heraldic  engraver,  but 
his  friendship  with  John  Thornhill  brought  him  into  contact  with 
his  famous  father.  Sir  James  Thornhill,  and  no  doubt  gave  him 
opportunity  of  working  in  his  spare  moments  from  the  life  in 
Thornhill’s  academy  in  Covent  Garden,  a privilege  oidy  interrupted 
for  a short  time,  it  appears,  by  his  run-away  match  with  Sir  James’s 
daughter  Jane.  After  Thornhill’s  death  in  1734,  Hogarth  became 
possessed  of  the  apparatus  of  the  Academy,  which  he  removed  to 
J^eter’s  Court,  in  St.  Martin’s  Lane.  It  is  a curious  irony  of  fate 
that  Hogarth,  with  his  declared  antipathy  to  academies,  should 
throughout  his  life  have  been  in  sort  the  director  of  a school  which 
was  the  real  forerunner  of  the  Royal  Academy,  to  which  its  stock- 
in-trade  passed  in  1768.  Hogarth’s  picture  of  the  !/ife  School  at 

7 


GREAT  ENGRAVERS 

Peter  s Court^  now  in  Burlington  House,  is  an  interesting  record  of 
his  own  establishment. 

As  a vehicle  for  his  satire,  Hogarth  naturally  found  engraving 
the  surest  road  to  publicity.  He  was  never  a great  engraver, 
but  his  contemporary  fame  rested  far  more  on  his  prints  than 
on  his  canvases.  The  popularity  of  Masquerades  and  Operas  : 
Burlington  Gate  (v)  immediately  resulted  in  pirated  copies,  and 
Hogarth  relates  how  the  printsellers  returned  him  his  original 
impressions  and  sold  the  copies  at  half-price.  The  engravers  of 
the  period  had  reason  to  be  grateful  to  his  later  action  in 
concert  with  George  Vertue,  Gerard  Vandergucht  and  others  in 
petitioning  Parliament,  and  obtaining  in  1735  the  first  English  Bill 
dealing  with  the  copyright  of  engravings.  The  phrase  Published 
according  to  Act  of  Parliament^  which  first  appeared  on  Hogarth’s 
P^ke' s Progress  in  1735  (seexviiiand  xix),  and  on  many  subsequent 
prints  by  Hogarth  and  others,  refers  of  course  to  this  Act. 

The  large  number  of  contemporary  and  later  copies  of  Hogarth’s 
engravings  which  exist,  render  it  essential  for  the  collector  to  be 
wary.  Those  who  are  primarily  interested  in  the  subjects  may  find 
some  satisfaction  in  copies,  ejj.  in  the  large  series  of  facsimile  en- 
gravings by  'T'homas  Cook,  issued  in  1802,  as  Hogarth  Pestored^  or  in 
contemporary  copies,  such  as  the  set  published  by  Thomas  Bake  well, 
with  Hogarth’s  consent,  in  1735,  after  H Rake's  Progress^  but  no  lover 
of  fine  prints,  and  no  appreciator  of  Hogarth’s  genius,  could  be 
content  with  anything  less  than  the  originals. 

Hogarth,  according  to  his  own  statement,  regularly  retouched  and 
repaired  his  copper-plates,  adding,  that  in  some  particulars  they 
became  better  than  when  first  engraved.”  But  the  collector  may 
well  be  content  to  deny  himself  these  improvements  for  the  sake  of 
the  quality  of  the  earlier  impressions.  Differences  of  state  are 
described  in  some  detail  in  Mr.  Dobson’s  catalogue,  but  when  these 
are  non-existent  or  unimportant,  the  sense  of  quality  is  the  only 
guide.  Hogarth’s  widow  continued  to  issue  prints  from  the  original 
coppers  until  her  death  in  1789,  and  then  her  cousin,  Mary  Lewis, 
who  inherited  the  propertv,  sold  the  plates  to  Boydell  in  return  for  a 
life  annuity  of  Later  still  they  were  in  the  possession  of 

Messrs.  Baldwin,  Cradock  and  Jov,  of  Paternoster  Row,  by  whom 
they  were  issued  in  1822,  reworked  by  the  engraver  James  Heath, 
and  again  by  Baldwin  and  Cradock  about  1835-1837,  but  by  this 
time  they  are  of  no  concern  to  the  Plogarth  collector,  and  their 
subsequent  history  is  luiknown  to  me. 

8 


WILLIAM  HOGARTH 

Our  illustrations  are  thoroughly  representative  of  Hogarth’s  en- 
gravings and  etchings  throughout  his  life,  and  the  notes  attached  to 
them  render  it  unnecessary  for  us  to  attempt  any  survey  of  his 
various  works  in  this  introduction.  Students  of  his  work  will  find 
the  most  authoritative  and  accessible  catalogue  in  Mr.  Dobson’s 
admirable  book,  and  much  again  in  the  various  issues  of  John 
Nichols’s  ^‘Anecdotes  of  William  Hogarth”  (1781,  etc.)  and  in  the 
more  comprehensive  edition  of  J.  B.  Nichols  (1833).  But  in  all  the 
existing  catalogues  we  feel  the  lack  of  connecting  links  between  the 
pictures  and  prints,  each  being  described  in  a separate  section.  Of 
course,  the  difficulty  of  collating  a scattered  work  is  enormous,  and 
Hogarth’s  practice  of  painting  several  versions  of  the  same  subject* 
renders  it  even  more  difficult  to  state  with  certainty  the  original 
picture  on  which  particular  prints  are  based.  In  other  cases, 
generally  when  the  inscription  runs  designed  (or  invented')  and  engraved 
by  TV.  Hogarth^  or  TV.  Hogarth  invenit  et  sculpsit.^  we  must  only 
look  for  original  drawings,  not  pictures,  as,  for  example,  in  the  series 
of  Industry  and  Idleness  (see  xxxii,  etc.),  and  in  Beer  Street  and  Gin 
Lane  (xli,  xlii).  But  one  cannot  expect  to  make  any  rigid  rule.  For 
example,  it  would  seem  as  if  the  small  painting  of  the  Bench^  now  in  the 
Fitzwilliam  Museum,  an  extraordinarily  good  example  of  Hogarth’s 
work,  must  be  the  original  on  which  the  print  was  based,  though  the 
print  is  only  inscribed  designed  and  engraved  by  TV.  Hogarth.  If  a 
later  version  by  Hogarth,  it  is  more  likely  that  the  master  would  have 
painted  the  subject  in  the  same  direction  as  the  print  (liii).  On  the 
other  hand,  with  the  famous  etching  of  Lord  Lovat  (xxxi)  inscribed 
Drawn  from  the  life  and  etched  in  Aquafortis  by  TVilliam  Hogarth.,  I 
am  inclined  to  be  extremely  sceptical  of  the  painting  of  the  same 
subject  in  the  National  Portrait  Gallery.  It  is  in  the  highest  degree 
unlikely  that  Hogarth  did  anything  but  sketches  from  the  life  pre- 
paratory to  this  etching,  and  the  painting  seems  to  me  a later  version 
entirely  without  the  convincing  qualities  of  the  etched  portrait. 
With  Hogarth  we  must  perhaps  be  sometimes  prepared  to  accept 
hack-work  as  well  as  productions  of  real  genius,  but  we  do  not  think 
that  he  would  have  lost  all  grit  in  a later  repetition  as  in  this 
example. 

As  a line-engraver  Hogarth,  like  most  of  his  contemporaries  in  the 

* But  vve  should  always  be  chary  of  accepting  the  description  replica  if 
a picture  has  not  the  master’s  (juality.  If  all  so-called  replicas  were 
original,  the  great  masters  would  have  been  thoroughly  tired  of  their  ow  n 
composi  lions. 


9 


GREAT  ENGRAVERS 

craft,  freely  intermingled  etched  lines.  And  he  never  finished  his 
engravings  with  the  precision  that  is  part  of  the  line-engraver’s  con- 
vention. His  inventive  genius  would  have  found  a much  more 
responsive  medium  in  the  freer  touch  of  pure  etching.  As  it  is,  in 
the  majority  of  his  plates  he  merely  adapted  the  methods  of  engraving 
on  which  he  had  been  brought  up  as  an  apprentice  to  a freer  and 
hybrid  handling,  in  which  graver  work  was  blunted  and  coarsened, 
while  etching  seldom  had  effective  play.  In  the  majority  of  his 
plates  we  feel  that  Hogarth  commands  our  admiration  as  an  inventive 
genius,  in  spite  rather  than  by  aid  of  his  medium. 

Hogarth  seems  to  have  regarded  pure  etching  in  a more  trivial 
light  than  engraving,  for  the  most  part  using  it  as  an  expeditious 
method  of  producing  the  subscription  tickets  and  receipt  forms  for 
his  larger  engravings.  To  our  mind  some  of  these  slighter  etchings, 
e.g.  the  Laughing  Judience  (xvii),  used  as  a subscription  ticket  for 
the  Rake  s Progress  and  Southzuark  Fair^  are  among  his  most 
attractive  works.  And  at  the  very  top  of  his  production,  alongside 
the  best  of  his  painted  portraits,  we  would  place  such  admirable 
etchings  as  the  John  IVilkes  (lvi),  ruthlessly  true  and  scathing  in  its 
characterisation,  and  the  portrait  of  the  notorious  Lovat[xxx.i)  to 

which  we  have  already  alluded,  drawn  from  the  life  shortly  before  his 
execution  in  1746.  These,  and  the  best  of  his  pictures,  place  Hogarth 
in  the  very  front  rank  of  eighteenth-century  art. 


10 


LIST  OF  PLATES 


Hogarth’s  original  engravings  and  etchings  (included  in  plates  i-i.vii 
are  arranged  in  chronological  order.  The  dates  are  given  in  brackets 
except  when  they  appear  on  the  print.  The  few  engravings  by  others 
after  his  designs  among  our  illustrations  are  placed  at  the  end  of  the  series 
(lviii-lxiv).  All  the  plates  are  reproduced  from  impressions  in  the 
British  Museum.  For  various  references  in  this  list  and  attached  to  the 
plates  I am  indebted  to  Mr.  Austin  Dobson  and  Mr.  Fairfax  Murray. 


Portrait  of  William  Hogarth,  En- 
graved by  himself.  i7-}-9.  After 
the  original  painting  (of  1745)  in 
the  National  Gallery.  Frontispiece 
Ellis  Gamble’s  Shop  Card.  i.  From 
an  impression  with  the  lettering 
blocked  out.  Ellis  Gamble  was  the 
goldsmith  and  silver-plate  engraver 
to  whom  Hogarth  was  apprenticed. 
The  Shop  Card  (which  is  a rare 
plate)  is  probably  quite  an  early 
plate  by  Hogarth,  and  in  any  case 
must  have  been  engraved  before 
Gamble’s  bankruptcy  in  1733 
An  emblematical  print  on  the  South 
Sea  Scheme,  ii.  (1721) 

A Scene  in  the  Seraglio,  iii.  Erom 
the  Travels  of  Aubry  de  la 
Motraye.  1723 

Frontispiece  to  the  AVer  Metamor- 
phosis; oi\‘PIeasant  Transformation 
of  the  Golden  Ass  oj  Lucius  ,'lpuleiiis. 

1724.  IV 

Masquerades  and  Operas,  Burlington 
(jatc.  v.  1724.  First  state,  with 
Pasquin  No.  XCT  on  the  roll 
lianging  over  the  wlieclbarrow 
(altered  later  to  Pen  John\son\) 

A just  \dcw  of  the  British  Stage,  or 
'I'lirec  I leads  arc  Better  than  One. 
Scene,  Newgate,  by  M.  D-X'-to. 
(1725.)  VI.  Rcjircscnts  Booth, 
Wilks^and  Cibber,  of  Drury  l>anc 
d'hcatre,  contriving  a pantomime 


Hudibras  in  Tribulation.  Plate  6 
of  a set  of  twelve  large  prints  for 
Butler’s  1726.  vii 

Burning  ye  Rumps  at  Temple  Barr. 
Plate  1 1 of  a set  of  twelve  large 
prints  for  Butler’s  Hudibras. 
1726.  VIII 

The  Beggar’s  Opera  Burlesqued. 
1728.  IX.  First  state,  before  the 
large  lettered  title  at  the  top. 

Boys  Peeping  at  Nature.  (1731  :) 
X.  Subscription  ticket  for  A 
Harlot's  Progress 

Arrival  in  London.  Plate  I of  A 
Harlot's  Progress.  1732.  xi.  The 
six  original  pictures  of  this  series 
are  said  to  have  been  \\hclly  or 
partially  destroyed  in  the  fire  at 
Fonthill  (the  seat  of  William 
Bcckford)  in  1755.  Two,  liow- 
ever,  believed  to  have  been 
preserved  from  the  fire,  corres- 
ponding to  plates  2 and  5 in  the 
engraved  series,  are  now  in  the 
collection  of  the  Earl  of  Rose- 
bery 

ddie  Quarrel.  Plate  2 id  A Harlot's 
Progress.  1732.  xii 

A Chorus  ot  Singers  ; or,  'Phe 
IG'hcarsal  o{  the  Oratorio  ot 
Judith.  (1732.)  xiii.  Subscrij-'- 
tion  ticket  for  A Midnight  Modern 
Conversation 

A Midnight  Modern  Conversation. 


GREAT  ENGRAVERS 

(1733.)  XIV,  First  state,  before 
the  correction  of  Moddeni 

Portrait  of  Sarah  Malcolm.  (1733.) 

■ XV.  The  original  picture, from  the 
collection  of  Horace  Walpole,  is 
now  in  the  National  Gallery  of 
Scotland 

Sancho’s  Feast.  1733.  xvi 

The  Laughing  Audience.  (1733.) 
XVII.  Subscription  ticket  for  the 
Rake  s Progress  and  Southzcark  Fair 

The  Levee.  Plate  2 of  the  series  of 
eight  prints,  entitled,  A Rake's 
Progress.  1735.  xviii.  The 
original  paintings  of  the  series  are 
in  the  coane  Museum,  Lincoln’s 
Inn  Fields 

The  Marriage.  Plate  5 of^/  Rake's 
Progress.  1735.  xix 

Southwark  F'air.  (1735.)  xx.  The 
plate  is  dated  1733,  but  it  is  known 
not  to  have  been  issued  until  1735. 
I'here  is  a painting  of  this  subject 
in  the  collection  of  the  Duke  of 
Newcastle 

The  Distressed  Poet.  1736.  xxi. 
Tlie  original  painting  is  in  the 
collection  of  the  Duke  of  West- 
minster 

d'he  Sleeping  Congregation.  1736. 
XXII.  A painting  of  the  subject 
is  in  the  collection  of  Sir  Frederick 
Cook,  Bart. 

Scholars  at  a Lecture.  1737.  xxiii 

Morning.  Plate  i ok F he  Four  Fimes 
of  the  Da^.  1738.  XXIV.  "Fhe 

original  pictures  of  Morning  and 
Aight  belong  to  Lieut. -Col.  G.  R. 
Heathcote,  Bighton  Wood,  Alres- 
ford,  Hants. 

Noon.  Plate  2 of  Fke  Four  Finies 
of  the  Day.  1738.  xxv.  The 

original  picture  is  in  the  collection 
of  the  Earl  of  Ancaster 


Evening,  xxvi.  P\3.io ok F he  Four 
F lines  of  the  Day.  1738.  First 
state,  before  the  figure  of  a little 
girl  was  added  next  to  the  crying 
boy.  The  original  picture  is  in 
the  collection  of  the  Earl  of 
Ancaster 

Strolling  Actresses  Dressing  in  a Barn. 
1738.  xxvii.  First  state,  with 
three  holes  in  the  roof,  two  being 
filled  up  in  the  second  state 

The  Enraged  Musician.  i74i« 
xxviii.  Second  state.  The  first 
state  (before  the  cats,  steeple,  and 
play  bill)  is  very  rare.  The 
original  palntingof thesubject  is  in 
the  Ashmolean  Museum,  Oxford 

Portrait  of  Martin  FTlkes.  1742. 
XXIX.  Proof  before  letters.  The 
original  painting  belongs  to  the 
Royal  Society 

The  Battle  of  the  Pictures,  xxx. 
Admission  ticket  to  an  auction  of 
his  original  pictures  held  by  the 
artist.  1745 

Simon,  Lord  Lovat.  1746.  xxxi. 
Fhrst  state  (before  the  addition  of 
price  i shilling  in  left  corner  of 
margin).  There  is  an  original 
study  in  chalk  for  the  head  and 
shoulders  in  the  British  Museum. 
There  is  a picture  of  the  same 
subject,  probably  a later  version 
based  on  the  etching,  in  the 
National  Portrait  Gallery 

The  Industrious  ’Prentice  perform- 
ing the  Duty  of  a Christian. 
Plate  2 of  a series  of  twelve  prints 
entitled,  Industry  and  Idleness. 
1747.  xxxii 

The  Industrious  ’Prentice  out  of  his 
time  and  married  to  his  master’s 
daughter.  Plate  6 of  Industry 
and  Idleness.  1747*  xxxiii 


12 


The  original  rough  sketch  for  Plate 
8 of  Industry  and  Idleness,  xxxiv. 
British  Museum.  There  are 
studies  (in  several  cases  rough 
sketches  as  well  as  final  drawings) 
in  the  British  Museum  for  all  the 
subjects  of  the  series  except  Plate 
12.  The  present  illustration,  a 
first  idea  of  the  composition, 
should  be  contrasted  with  a more 
finished  drawing  for  another  of 
the  series  (Plate  xxxvi.)  All  the 
studies  except  the  present  example 
are  in  reverse  to  the  prints.  There 
are  also  studies  in  the  British 
Museum  for  two  further  subjects 
which  were  not  engraved 
The  Industrious  ’Prentice  grown 
rich,  and  SherilP  of  London. 
Plate  8 of  Industry  and  Idleness. 

1747.  XXXV 

The  original  study  for  Plate  11 
of  Industry  and  Idleness,  xxxvi. 
British  Museum 

The  Idle  ’Prentice  executed  at 
Tyburn.  Plate  11  of  Industry 
and  Idleness.  1747.  xxxvii 
The  Industrious  ’Prentice  Lord- 
Mayor  of  London.  Plate  12  of /;/- 
dustry  and  Idleness.  1747.  xxxviii 
The  Stage  Coach  ; or,  Country  Inn 
Yard  at  the  Time  of  an  Election. 
1747.  XXXIX.  Second  state  with 
ISIo  Old  dlaby  added  on  flag  in 
background.  The  motto  is  sup- 
posed to  refer  to  John  Child 
Tylncy,  Viscount  Castlemaine, 
who  contested  hlssex  at  the  age  of 
twenty 

Calais  Gate  ; or,  O the  Roast  Beef  of 
Old  England.  1749-  XL.  En- 
graved by  C.  Mosley  and  the 
painter  after  tlie  original  picture 
in  tlic  National  (lallery 


WILLIAM  HOGARTH 

Beer  Street.  1751.  xli.  This  and 
the  following  are  only  inscribed 
Designed  by  Jf\  Hogarth,  but  the 
engraving  is  also  generally  attri- 
buted to  him.  The  two  original 
drawings,  in  red  chalk,  are  now  in 
the  collection  of  Mr.  Pierpont 
Morgan  (from  the  Joly  and  Fair- 
fax Murray  collections) 

Gin  Lane.  1751.  xLii.  See  note 
to  its  pendant,  the  preceding  plate. 

Paul  before  Felix.  1751.  xliii. 
First  state,  inscribed  : Design  d 
and  scratch’d  in  the  true  Dutch  taste 
by  Wm.  Hogarth.  In  the  second 
state  the  inscription  is  changed  to 
Design'd  and  etclid  in  the  rediculous 
[sic]  majiner  of  Rembrandt.  Used 
as  a receipt  for  payment  for  two 
prints,  the  larger  Paul  before  Felix 
and  Moses  brought  to  Pharoah's 
Daughter 

Columbus  Breaking  the  Egg.  (1752). 
XLiv.  Subscription  ticket  for 
Hogarth’s  book  the  Analysis  oj 
Beauty,  1753 

A Statuary’s  Yard.  Plate  i in  Ho- 
garth’s book,  the  Analysis  of 
Beauty,  1753.  xlv.  First  state, 
with  inscription,  Ft  tu  Brute,  on 
the  pedestal,  and  before  the  en- 
graved numbers,  which  are  given 
in  manuscript  on  the  present  im- 
pression. There  is  a study  for 
the  crying  child  in  the  British 
IVIuseum 

A Country  Dance.  Plate  2 in  the 
Analysis  of  Beauty,  1753.  xi.vi. 
Second  state,  with  a figure  added 
beneath  theplcturcof  1 lenry  \’III, 
and  with  alterations  in  the  chief 
pair  of  dancers 

An  Flection  Entertainment.  I7!;5. 
One  of  Four  Prints  of  an  Election. 


GREAT  ENGRAVERS 

XLvii.  First  State,  before  the 
lettering.  See  Plates  xlviii,  xlix 
and  LXii.  The  original  paintings 
of  this  series  are  in  the  Soane 
Museum,  Lincoln’s  Inn  Fields 
The  Polling.  Engraved  by  Hogarth 
and  Le  Cave.  1758.  One  of 
Four  Prints  of  an  Election,  xlviii 
Chairing  the  Members.  Engraved 
by  Hogarth  and  F.  Aveline.  One 
of  Four  Prints  of  an  Election,  xlix 
The  Invasion.  Plate  ist.  1756.  l 
The  Invasion.  Plate  2nd.  1756.  li 
Hogarth  painting  the  Comic  Muse. 
1758.  Lii.  Second  state  inscribed. 
The  Face  Engraved  hy  William 
Hogarth  (this  part  of  the  inscrip- 
tion omitted  in  the  fourth  state). 
The  original  painting  is  in  the 
National  Portrait  Gallery 
The  Bench.  1758.  liii.  The 
original  painting,  in  reverse, 
formerly  in  the  Cheney  and 
Fairfax  Murray  collections,  is  now 
in  the  Fitzwilliam  Museum, 
Cambridge 

The  Cockpit.  1759.  liv 
The  Times.  Plate  i.  1762.  lv. 
First  state  ; Pitt  on  stilts  in  the 
character  of  Henry  VIII,  blow- 
ing up  the  flames.  Lord  Bute  is 
represented  in  the  centre,  syringed 
by  the  two  men  from  garret 
windows  (Wilkes  and  Charles 
Churchill).  This  caricature  in- 
cited Wilkes  to  a venomous  attack 
on  Hogarth  in  the  North  Briton 
(Sept.  25,  1762),  and  Churchill, 
Wilkes’s  champion,  replied  with 
equal  savagery  in  his  well-known 
Epistle  to  William  Hogarth  (1763). 
Hogarth’s  reprisals  are  seen  in 
the  two  following  plates  : the 

cruel,  but  life-like  portrait  etch- 


ing of  Wilkes,  and  in  the  plate  of 
Churchill  as  The  Bruiser 
Portrait  of  John  Wilkes.  1763.  lvi 
The  Bruiser,  C.  Churchill.  1763. 
Lvii.  First  state  with  a Modern 
(changed  in  second  state  to 
Russian)  Hercules  in  the  inscrip- 
tion. This  is  the  same  copper- 
plate as  the  Portrait  of  Hogarth 
(see frontispiece)  altered 
The  Contract.  Plate  i of  the 
Marrlage-a-la-Mode.  1745.  lviii. 
Engraved  by  Gerard  Scotin.  The 
series  of  six  original  paintings  is  in 
the  National  Gallery 
The  Toilet  Scene.  Plate  4 of  the 
Martiage-a-la-Mode.  1745.  lix. 
Engraved  by  Simon  Francois 
Ravenet,  the  elder 
Taste  in  High  Life  (1746).  lx.  By 
an  anonymons  engraver  after 
Hogarth.  The  original  painting 
of  1742  was  done  for  a certain 
Miss  Edwardes  of  Kensington, 
who  intended  to  punish  the 
critics  of  her  own  originalities  of 
costume  by  a burlesque  of  the 
eccentric  fashions  of  1742.  The 
man  is  said  to  be  Lord  Portmore, 
and  the  lady  on  the  left  Kitty 
Fisher 

A representation  of  the  March  ol 
the  Guards  towards  Scotland  in 
the  year  1745  (commonly  called 
the  March  to  Finchley).  En- 
graved by  Luke  Sullivan.  1750. 
Lxi.  First  state,  unfinished. 
The  original  picture  is  in  the 
Foundling  Hospital.  Drawings, 
probably  by  Sullivan,  for  the 
whole  and  for  various  heads  in 
the  engraving,  are  in  the  British 
Museum 

Canvassing  for  Votes.  Engraved  by 


Charles  Grignion.  1757-  lxii. 
Unfinished  state.  One  of  Four 
Prints  of  an  Election^  of  which 
Hogarth  engraved  the  three 
others,  two  in  collaboration  with 
other  engravers.  See  Plates 
XLVii,  XLViii,  and  xlix 

The  Shrimp  Girl.  1781.  lxiii. 
Stipple  engraving  by  f'rancesco 
Bartolozzi  after  the  picture  in  the 
National  Gallery 

The  Beggar’s  Opera,  Act  III.  En- 
graved by  William  Blake.  I79^- 
Lxiv.  After  the  picture  (done 


WILLIAM  HOGARTH 

about  1728-29)  in  the  collection 
of  the  Duke  of  Leeds.  'Ehere  is 
another  painted  version  of  the 
subject  in  the  National  Gallery 
(once  belonging  to  Mr.  John 
Murray) 

The  title-page  border  is  taken 
from  Ellis  Gamble’s  Shop  Card 
(see  i) 

The  accompanying  tail-piece.  Mask 
and  Palette  (1745),  is  the  subscrip- 
tion ticket  to  the  engraving  of 
Ga  rick  in  the  character  of  Richard 
111  (1746) 


15 


I.  ELLIS  GAIMBLE’S  SHOP  CARD 

From  an  impression  with  the  lettering  blocked  out.  Ellis  Gamble  was 
the  goldsmith  and  silver-plate  engraver  to  whom  Hogarth  was  apprenticed. 
The  shop  card  (which  is  a rare  print)  is  probably  quite  an  early  plate  by 
Llogarth,  and  in  any  case  must  have  been  done  before  Gamble’s  bank- 
ruptcy in  1733 


II  I 


II. 


AN  EMBLEMATIC  PRINT  ON  THE  SOUTH 


SEA  SCHEME.  (1721) 


III.  A SCENE  IN  THE  SERAGI.IO.  FROM  THE  TRAVELS  OF 
AUBRY  DE  LA  MOTR.^VE.  1723 


IV.  FRONTISPIECE  TO  THE  NEJV  METAMORPHOSIS  ; OR,  PLEA- 
SANT TRANSFORMATION  OF  THE  GOLDEN  ASS  OF  LUCIUS 
APULEIUS.  1724 


V.  MASQUER.4DES  AND  OPERAS.  BURLINGTON  GATE.  1724 
First  state,  with  Pasquin  No.  XCV  on  the  roll  hanging  over  the  wheel- 
barrow (altered  later  to  Ben  John[soii\) 

A hit  among  other  things  at  William  Kent,  whose  figure  stands  between 
Raphael  and  Michelangelo  above  the  gate  of  Burlington  House,  somewhat 
prophetically  inscribed  Accademy  of  Arts.  Kent  was  the  author  of  the 
notorious  altar-piece  (now  lost)  of  St.  Clement  Danes,  which  Hogarth 
pitilessly  satirised  in  another  engraving 


VI.  A JUST  VIEW  OF  THE  BRITISH  STAGE,  OR  THREE  HEADS 
ARE  BETTER  THAN  ONE.  SCENE  NEWGATE,  BY 
M.  D— V— TO  (1725) 

Represents  Booth,  W’ilks,  and  Cibber,  of  Drury  Lane  Theatre,  con- 
triving a pantomime.  M.  D — V — TO  is  the  scene-painter,  John  Devoto 
(who  is  represented  in  a portrait  engraved  by  John  Faber  II,  after 
Damini,  1738) 


VII.  HUDIBRAS  IN  TRIBULATION.  PLATE  6 OF  A SET  OF 
TWEL\T  LARGE  PRINTS  FOR  BUTLER’S  HUDIBRAS.  1726 


VIII.  BURNING  YE  RUMPS  AT  TEIMPLE  BARR.  PLATE  11  OF  A 
SET  OF  TWELVE  LARGE  PRINTS  FOR  BUTLER’S  HUDI- 
BRAS.  1726 


tuTv.MPI.K.  Uauu  . 


IX.  THE  BEGGAR’S  OPER.\  BURLESQUED.  1728 
First  state,  before  the  large  lettered  title  at  the  top 
For  a serious  rendering  of  a scene  from  the  same  opera,  see  plate  LXIV 


II 


X.  BOYS  PEEPING  AT  NATURE.  (1731  ?) 
Subscription  ticket  for  A Harlofs  Progress 


necefse 

Indicii^  mon^'^lrarc  re'cciitibxi  abdila  roJ'xim  , 
dabilurque  Xicciilia  S\nnpla  pudontcr. 


J/S/- 


A A, tftrj  . 

AAtr  f'r^irA>*'n^zn^  ct  yAtro/cny  Ccrz/i^ittny  AZ) i^Arz//- 

^(’/'  tAe^/zzy.czi  rz^A^r  z*ri;  <f/u/  tAe  ofArz^your  t / / 

'"A  / (7V/f , tjzif/  AAi  . — 

’//  A/rA  >y y yt'7/fz.* r tif  (AAi'Ct'  cr/t  ^^yy  lAt-y  fitwt  rztAizry  itj^tny  A<rZ^ 

ft  9/totf  . ///A  A/tcy  tvi//  6c  jTAy/try'jyAtj^  '/ttAA-^yj/JCrt 


XI.  ARRIVAL  IN  LONDON.  PLATE  1 OF  A HARLOTS  PROGRESS. 
1732  .... 

The  six  original  pictures  of  this  series  are  said  to  have  been  wholly  or 
partially  destroyed  in  the  fire  at  Fonthill  (the  seat  of  William  Beckford), 
in  1755.  Two  however,  believed  to  have  been  preserved  from  the  fire, 
corresponding  to  plates  2 and  5 of  the  engraved  series,  are  now  in  the 
collection  of  the  Earl  of  Rosebery 


XII.  THE  QUARREL.  PLATE  2 OF  ^ HARLOTS  PROGRESS.  1732 


XIII.  A CHORUS  OF  SINGERS  ; OR,  THE  REHEARSAL  OF  THE 
ORATORIO  OE  JUDITH.  (1732) 

Subscription  ticket  for  A Midnight  Modern  Conversation 


V ^ ^ 

U^nifiA'  n /,rU  f,r-  „ //'r,A/  {:l^/■^  . lUJn^ht 

Ja/i^fl  rrhuh  J^/Ti/itU  JJf-Zti  fr  r/i  1/ I’^of  9'^inrh  >u.t  f <-//  faf'Cfi/.'C.jiiU'J’rrr(>uA<^tJif  /fatn/'^r 
J'ritU^i/.^^uiU /A^l'Plu/  J'u/'jcryhJ /,’r.f^ifti  y l,uiJ>.'/t^7//Y.'rrnfrJk7tt‘fry.7kf>m<^IkMi*rynyj7t^^ 


XIV.  A MIDNIGHT  MODERN  CONATRSATION.  (1733) 
First  state,  before  the  correction  of  Moddern 


J 


XV.  PORTRAIT  OF  SARAH  MALCOLM.  (1733) 

The  original  picture,  from  the  collection  of  Horace  Walpole,  is  nowin 
the  National  Gallery  of  Scotland 


X\l.  SANCHO’S  FEAST.  (1733) 


XVII.  THE  LAUGHING  AUDIENCE.  (1733) 

Subscription  ticket  for  the  Rakers  Progress  and  ^qutkwark  Fair 


.y?a/^  /t'y/Zf/  //^e' 3^2y///f:u/ /////f  fy'/v/^/j.  S'  of  ///zoy^ 

yj^yf/e/o/// 1/  fy/ryn/j  fL  ///^  1/  //‘/fo  A /y  yy  ',-o,vff/o  /o 

(Ao/f/yr  fr/tf  fi  j yf/f/j/f'A.i>  ■ p/f  yAlyry/fV/or  o/iy  S/f/^oo^/  ///p'y,  /Ao 
AA/ f // / o/ /y/o  .Af/f/-  Zy///^  yZo/fiY/  // o/  /Ay  ///ffy  c/  yff/jt  /'f/‘fff</ 

//>’  ///<  /SuAyP  if/t'/iy  f/o//  /y  //.  V a/Sf  y My  /fm?  ;’/  Au-/\'(  or /* t ^i</ 


11 


X\7II.  THE  LE\TE.  PLATE  2 OE  A SERIES  OF  EIGHT  PRINTS 
ENTITLED  A RAKE’S  PROGRESS.  1735 
The  original  paintings  of  this  series  are  in  the  Soane  Museum, 
Lincoln’s  Inn  Fields 


mm 


XIX.  THE  MARRIAGE.  PLATE  3 OE  A RAKE'S  PROGRESS.  1735 


XX.  SOUTHWARK  FAIR.  (1735) 

The  plate  is  dated  1733,  but  it  is  known  not  to  have  been  issued  until 
1735.  A painting  of  this  subject  is  in  the  collection  of  the  Duke  of 
Newcastle 


IpKJj^^ 

M, 

XXL  TLIE  DISTRESSED  POET.  1736 

The  original  painting  is  in  the  collection  of  the  Duke  of  Westminster 


XXII.  THE  SLEEPING  CONGREGATION.  1736 

A painting  of  the  subject  is  in  the  collection  of  Sir  Frederick  Cook, 
Bart. 


XXIII.  SCHOLARS  AT  A LECTURE. 


XXIV.  MORNING.  PLATE  1 OF  ‘THE  FOUR  TIMES  OF  THE  DAT. 
1738 

The  original  pictures  of  IMorning  and  Night  belong  to  Lieut. -Col. 
G.  R.  Heathcote,  of  Bighton  Wood,  Alresford,  Hants 


XXV.  NOON.  PLATE  2 OF  7HE  FOUR  TIMES  OF  THE  DAT.  1738 
The  original  picture  is  in  the  collection  of  the  Earl  of  .Ancaster 


H 4 


XXVI.  EVENING.  FL.VTE  3 OF  ^HE  FOUR  TIMES  OF  THE  DAT. 

First  state,  before  the  figure  of  a little  girl  was  added  next  to  the 
crying  boy.  The  original  picture  is  in  the  collection  of  the  Earl  of 
Ancaster 


XX\1I.  STROLLING  ACTRESSES  DRESSING  IN  A BARN.  1738 
First  state,  with  three  holes  in  the  roof  (two  being  filled  up  in  the 
second  state) 


XXMII.  THE  ENR.4GED  MUSICL^N.  1741 

Second  state.  The  first  state  (before  the  cats,  steeple,  and  plap 
bill)  is  very  rare.  The  original  painting  of  the  subject  in  the 
Ashmolean  Museum,  Oxford 


rprj 


XXIX.  rORTRAIT  OF  MARTIN  FOLKES.  1742.  PROOF  BEFORE 
LETTERS 

The  original  painting  belongs  to  the  Royal  Society 


XXX.  THE  BATTLE  OF  THE  PICTURES.  ADMISSION  TICKET  TO 
AN  AUCTION  OF  HIS  ORIGINAL  PICTURES  HELD  BY 
THE  ARTIST.  1745 


XXXI.  SIMON,  LORD  LOVAT.  1746 

First  state  (before  the  addition  of  Price  I Shilling  in  left  corner  of 
margin.)  There  is  an  original  study  in  chalk  for  the  head  and 
shoulders  in  the  British  Museum.  A picture  of  the  same  subject 
in  the  National  Portrait  Gallery  is  probably  a later  version  (by 
another  hand  ?)  based  on  the  etching 

Simon  Fraser,  12th  Lord  Lovat  (b.  ab.  1667)  was  an  adventurer,  who 
played  a notoriously  double  game  between  the  Jacobite  and  Govern- 
ment causes.  He  sided  with  the  Government  in  1715,  but  was  one 
of  the  chief  instigators  of  the  Rising  in  1745.  He  was  executed  on 
Tower  Hill  in  1746 


XXXII.  THE  INDUSTRIOUS  ’PRENTICE  PERFORMING  THE  DUTY 
OF  A CHRISTIAN.  PLATE  2 OF  A SERIES  OF  TWELVE 
PRINTS  ENTITLED  INDUSIRT  AND  IDLENESS.  1747 


Ilii*  I N l>r  ST  U 1 O I .s  ’ r 1^  li  N '1  U 1.  |K  irunnm;^  llio  Out  yoC  ;i  Cliritl  iiui 


XXXIII.  THE  INDUSTRIOUS  ’PRENTICE  OUT  OF  HIS  TIME,  AND 
MARRIED  TO  PUS  MASTER’S  DAUGHTER.  PLATE  6 
OF  INDUSTR2'  AND  IDLENESS.  1747 


I'Ik-  INI) I S r RIO  rs  ’ TRI'.  N T1  C i:  out  ol'lii.s  limf  .'x  Mai-ric  tl  to  his  Maltcrs  J);m<)iitor. 


) 


u.  5 


XXXIV.  THE  ORIGINAL  ROUGH  SKETCH  FOR  PLATE  8 OF 
INDUSTRY  AND  IDLENESS.  British  Museum 
There  are  studies  (in  several  cases  rough  sketches  as  well  as  final 
designs)  in  the  British  Museum  for  all  the  subjects  of  the  series 
except  plate  12.  The  present  illustration,  a first  idea  of  the 
composition,  should  be  contrasted  with  a more  finished  drawing  for 
another  of  the  series  (plate  XXXVI).  All  the  studies,  except  the 
present  example,  are  in  reverse  to  the  prints.  There  are  also 
studies  in  the  British  Museum  for  tw<?  further  subjects  which  were 
not  engraved 


XXX\;  THE  INDUSTRIOET  ’PRENTICE  GROWX^  RICH,  AND 
SHERIFE  OF  LONDON.  PLATE  8 OF  INDUSTRT  AND 
IDLENESS.  1747 


XXXM.  THE  ORIGINAL  STUDY  FOR  PLATE  11  OF  INDUSTRY 
AND  IDLENESS 
British  Museum 


XXX\'II.  THE  IDLE  ’PRENTICE  EXECUTED  AT  TYBURN. 
PL.^TE  :i  OF  I'^DLSTRl'  AND  IDLENESS.  1747 


XXXMU.  THE  INDUSTRIOUS  ’PRENTICE  LORD-MAYOR  OF 
LONDON.  PLATE  12  OF  INDUSTRY  AND  IDLENESS. 

1747 


1 111-  IN  1)1  >1  K1  or  S 'I’Kl  ,\  I'l  C 1.  I.ul•(l  ^l. 


XXXIX.  THE  STAGE  COACH  ; OR,  COUNTRY  INN  YARD  AT  THE 
TIME  OF  AN  ELECTION.  1747 

Second  state,  with  No  Old  Baby  added  on  flag  in  background.  The 
motto  is  supposed  to  refer  to  John  Child  Tylney,  Viscount  Castle- 
maine,  who  contested  Essex  at  the  age  of  twenty 


XL.  C.4L.4IS  GATE  OR,  O THE  ROAST  BEEF  OF  OLD  ENGLAND. 

Engraved  by  C.  Mosley  and  the  painter  after  the  original  picture  in 
the  National  Gallery 

Charles  Mosley,  line-engraver  ; d.  ab.  1770  ; worked  in  London 


()  Tin:  n 0 1S  T JiKKT  ofOldKa  ol 


XLL  BEER  STREET.  1751 

This  and  the  following  are  only  inscribed  Designed  by  JF.  Hogarth,  but 
the  engraving  is  also  generally  attributed  to  him.  The  tw^o  original 
drawings,  in  red  chalk,  are  now  in  the  collection  of  Mr.  Pierpont 
Morgan  (from  the  Joly  and  Eairfax  Murray  collections) 


II.  6 


XLII.  GIN  LANE.  1751 

See  note  to  its  pendant,  the  preceding  plate 


(.  1 N 


I.  AN  !; 


XLIII.  PAUL  BEFORE  FELLX.  1751 

Fir=t  state,  inscribed  Design'd  and  scratch'd  in  the  true  Dutch  taste 
by  Wm.  Hogarth.  In  the  second  state  this  inscription  is  changed  to 
Design'd  and  etch'd  in  the  rediculous  (sic)  manner  oj  Rembrandt.  Used 
as  a receipt  for  payment  for  two  prints,  the  larger  Paul  bejore  Felix 
and  Moses  brought  to  Pharaoh's  Daughter.  There  is  a pencil  study 
for  this  print  in  the  British  Museum 


XLIV.  COLUMBUS  BREAKING  THE  EGG.  (1752) 

Subscription  ticket  for  Hogarth’s  book,  the  A7ialysis  oj  Beauty  (1753) 


jy?/’/' (/  -r 

jf'? h'f  tndu/^ a fj/uyf~^ra<y' 

i\r//(/‘//{d  r d^y/^^d/y/^.  fr/n'hun  f'/yvw,/  irU’  rrfy/W<fi/ ^na  ///’//' 

/t  yur/i  frr  ///'e  (u/</d</ W/ro  fhtA'n/  ( ^rnt/d  ^fK'rtcu,'  nr,/  ^ 

f '<>rurn/ .,('>n<jfrn  i/'t/  or  /rrf^o  4 Oj^/^z/'r  ///^/4v'  ///■  /o  /raru-  /nr  r y,‘  rfu/^i  rf  4 


/ 

Prtt'/  *»?//  /v  fytu^y  ti/^r  t/ie  <^/<*crtptu'7t  Uf  vi'^r 


XLV.  A STATUARY’S  YARD.  PLATE  1 IN  HOGARTH’S  BOOK, 
THE  ANALYSIS  OF  BEAUFY.  1753 

First  state,  with  inscription  Et  tu  Brute  on  the  pedestal,  and  before  the 
engraved  numbers,  which  are  given  in  manuscript  on  the  present 
impression.  There  is  a study  for  the  crying  child  in  the  British 
Museum 


XLVI.  A COUNTRY  DANCE.  PLATE  2 IN  THE  ANALYSIS  OF 
BEAUir.  1753 

Second  state,  with  a figure  added  beneath  the  picture  of  Henry  VIII, 
and  with  alterations  in  the  chief  pair  of  dancers.  There  are  studies 
lor  parts  of  this  plate  (Figs.  60  and  61)  in  the  British  Museum 


XL\  II.  AN  ELECTION  ENTERTAINMENT.  1755.  ONE  OE  EOUR 
PRINTS  OE  AN  ELECTION 

Eirst  state,  before  the  lettering.  See  plates  XLVIII,  XLIX  and 
EXIT.  The  original  paintings  of  this  series  are  in  the  Soane 
Museum,  Lincoln’s  Inn  Eields 


XLVIII.  THE  POLLING.  EKGRAVED  BY  HOGARTH  AND  LE 
CAVE.  1758.  ONE  OF  FOUR  PRINTS  OF  AN  ELECTION 
P.  Le  Cave,  water-colour  painter,  etcher,  and  engraver  ; worked 
ab.  1758-1803,  in  London 


XLIX.  CHAIRING  THE  MEMBERS.  ENGR.4VED  BY  HOGARTH 
AND  F.  AVELI NE.  ONE  OF  FOUR  PRINTS  OF  AN  ELEC- 
TION 

Francois  Antoine  Aveline  ; line  engraver  ; b.  1727  (1718  ?) ; d.  1762  ; 
worked  in  Paris,  and  London 


H.  7 


L.  THE  INVASION.  PLATE  1.  1756 


U,/  /„ //  -."/Hvirt/ 


LI.  THE  INVASION.  PLATE  2.  1756 


LII.  HOGARTH  PAINTING  THE  COMIC  MUSE.  1758 

Second  state,  inscribed,  The  Face  Engraved  by  JFilliam  Hogarth.  The 
original  painting  is  in  the  National  Portrait  Gallery 


LIII.  THE  BENCH.  1758 

I’he  original  painting,  in  reverse,  formerly  in  the  Cheney  and  Fairfax 
Murray  collections,  is  now  in  the  Fitzwilliam  Museum,  Cambridge 


Ji//rr>/i/  Iiir/i/ti/i,,  //I’r//.-  Charflrtcr  . ('ar/icatiuvi  ..v/./Outr<'  ^ n ^ Ann/i /:•; 


LIV.  THE  COCKPIT.  1759 


LV.  THE  TIMES:  PLATE  1.  1762 

First  state  ; Pitt  on  stilts  in  the  character  of  Henry  VIII  blowing  up 
the  flames.  Lord  Bute  is  represented  in  the  centre,  directing  a fire- 
hose, and  syringed  by  two  men  from  garret  windows  (Wilkes  and 
Charles  Churchill).  This  caricature  incited  Wilkes  to  a venomous 
attack  on  Hogarth  in  the  North  Briton  (September  25,  1762),  and 
Churchill,  Wdlkes’s  champion,  replied  with  equal  savagery  in  verse  in 
his  well-known  to  William  Hogarth  (1763).  Hogarth’s  reprisals 

are  seen  in  the  two  succeeding  plates  : in  the  cruel,  but  evidently 
lifelike,  portrait  etehing  of  Wilkes,  and  in  the  plate  representing 
Churchill  as  the  Bruiser 


LVI.  PORTILllT  OF  JOHN  WILKES.  1763 


■y 


/ /,'/ru  / /!>///  ■■//: 


^ ( Kh/ 

S /,  //  .? 


/t^'//ii/, 


LVII.  THE  BRUISER,  C CHURCHILL.  1703 

First  state,  with  a Modern  (changed  in  second  state  to  a Russian) 
Hercules  in  the  inscription.  This  is  the  same  copper-plate  as  the 
Portrait  of  Hogarth  {Jrontispiece)  altered 


H. 


S 


L\lll.  THE  CONTRACT.  ENGRAVED  BY  GERARD  SCOTIN. 
PLATE  1 OF  THE  SERIES  OF  SIX  SUBJECTS,  ENTITLED 
MARRIAGE- J-LA-MODE.  1745 
The  series  of  original  paintings  is  in  the  National  Gallery 
Gerard  Jean  Baptiste  Scotin  II,  line-engraver  ; b.  1698  ; d.  after 
1 745  ; worked  in  Paris,  and  London 


LIX.  THE  TOILET  SCENE.  ENGRA\TD  BY  SIMON  FRANCOIS 
RA\TNET,  THE  ELDER.  PLATE  4 OF  MARRIAGE-A-LA- 
MODE.  1745 

Simon  Fran9ois  Ravenet  I,  line-engraver  ; b.  1721  (or  ab.  1706  ?)  ; 
d.  1774:  worked  in  Paris,  and  London 


• •-  I'j  - - 


LX.  TASTE  IN  HIGH  LIFE.  BY  AN  ANONYMOUS  ENGIUWTR 
AFTER  HOGARTH.  (1746) 

The  original  painting,  done  in  1742,  is  in  the  collection  of  Mr.  Fairfax 
Murray.  The  painting  was  commissioned  by  a certain  Miss  Edwardes 
of  Kensington,  who  intended  thereby  to  punish  the  critics  of  her  own 
originalities  of  costume  by  a burlesque  of  the  eccentric  fashions  of 
1742.  The  man  is  said  to  represent  Lord  Portmore  ; the  lady  on  the 
left  Kitty  Fisher 


JiV  Ji  J o Ji  LIFE. 


LXI.  A REPRESENTATION  OF  TEIE  AEVRCH  OF  THE  GLTARDS 
I'OWMRDS  SCOTLAND  IN  THE  YEAR  1745  (COMMONLY 
CAI.LED  THE  MARCH  AO  FINCHLEl').  ENGRAVED  BY 
LUKE  SULLU'AN.  1750 

First  state  : unfinished.  The  original  picture  is  in  the  Foundling 
Hospital.  Drawings,  probably  by  Sullivan,  for  the  whole,  and  for 
various  heads  in  the  engraving,  are  in  the  British  Museum 
Luke  Sullivan,  line-engraver;  b.  1705  ; d.  1771  ; worked  in  Ireland, 
and  London 


LXII.  CANVASSING  FOR  VOTES.  ONE  OF  FOUR  PRINTS  OF  AN 
ELECTION,  OF  WHICH  HOGARTH  ENGRAVED  THE 
THREE  OTHERS,  TWO  IN  COLLABORATION  WITH 
OTHER  ENGR^WTRS.  ENGIUWED  BY  CHARLES 
GRIGNION.  1757 

Unfinished  state.  See  plates  XL\7I,  XL\'HI,  and  XLIX 

Charles  Grignion,  line-engraver;  b.  1717;  d.  1810;  worked  in 

London 


LXni.  THE  SHRIMP  GIRL.  ENGRA\TD  IN  STIPPLE  BY 
ERANCESCO  BARTOLOZZL  1781 
After  the  picture  in  the  National  Gallery 

Francesco  Bartolozzi,  engraver  in  line  and  stipple  ; b.  1728 
d.  1813  ; worked  in  Florence,  Venice,  Rome,  London,  and  Lisbon 


t '-•^'i'V  -A  V'  'K-^‘^'£.'^ 


^>'■5  7 

wA’\ 


LXIV.  THE  BEGGAR’S  OPERA,  ACT  HE  ENGRAVED  BY  WILLIAM 
BLAKE.  1790 

Two  paintings  of  this  subject  may  be  mentioned ; one  in  the  National 
Gallery  (formerly  belonging  to  Mr.  John  Murray)  ; the  other, 
slightly  larger,  in  the  collection  of  the  Duke  of  Leeds.  The  engrav- 
ing is  based  on  the  latter.  This  now  forgotten  opera,  which  has 
scored  by  Dr.  Pepusch  from  old  ballads  and  popular  songs  of  the 
day,  had  an  immediate  success  on  its  first  production  in  1728.  Both 
pictures  date  about  this  time,  though  the  National  Gallery  version 
was  still  unfinished  in  1731.  Polly  Peachum,  played  by  Lavinia 
Fenton,  is  seen  on  the  right,  kneeling  before  her  father  ; on  the  left 
Lucy,  with  her  back  turned,  before  Lockit.  IMacheath  is  the  central 
figure.  The  Duke  of  Bolton,  who  married  Miss  Fenton,  is  repre- 
sented seated  on  the  extreme  right.  There  is  a charming  Hogarth 
portrait  of  Miss  Fenton,  as  Polly,  in  the  National  Gallery 
Wdlliam  Blake,  painter,  line-engraver,  and  etcher  ; famous  for  his 
imaginative  designs,  and  prophetical  books;  b.  1757;  d.  1827; 
worked  in  London,  and  Felpham 


PRINTED  AT  THE  BALLANTYNE  PRESS 


